Angel Rat is the sixth studio album released by the Canadian heavy metal band Voivod. Produced by Terry Brown of Rush fame, it was released in 1991 by Mechanic/MCA Records and is the follow-up to their critically acclaimed release, 1989's Nothingface. On this album, Voivod adopts a more alternative/progressive/psychedelic rock sound, as opposed to the progressive metal of Nothingface.

OTEP, the band led by singer, poet, illustrator, author and activist Otep Shamaya, is about to unveil the most uncompromising, candid, all-inclusive and controversial assessment of the current residing political regime that it has ever released in the form of its eighth full-length album, titled "Kult 45". Drawing influences from politically charged recording artists of the past but allowing her artwork to remain fully and undeniably OTEP, Shamaya continues her nearly two-decade invasion of the senses on July 27 when "Kult 45" drops via Napalm Records. This is OTEP like you've never heard them before.

Dog Fashion Disco have set a July 06th release date through Razor To Wrist for their forthcoming effort, “Experiments In Embryos“. Going by the track listing, the outing appears to be a compilation of re-recorded tracks from 1998’s “Experiments In Alchemy” and “The Embryo’s In Bloom“. Last year the band re-recorded and updated their 1997 debut album “Erotic Massage” in a similar fashion.

Tiamat mastermind Johan Edlund, on eighth album Prey, continues his obsession with mediocre, synth-driven goth rock, marking a logical progression from the atrocious 2002 effort Judas Christ. In other words, Prey isn't an embarrassment like its predecessor, but it's still a dull, plodding affair, and a distant cry from Tiamat's chilling crossover masterpiece, Wildhoney (which is a Pink Floydian prog-psych-death benchmark in a catalog filled with wide-ranging experimentation)…

Toundra is one of the most talented and underrated post-rock bands out there. They don’t get the praise or attention they deserve. However, they are always able to top themselves and push the envelope and they’ve proven they don’t know how to release bad albums…

There comes a point in every career of note, when it’s time to dig a trench in the turf; to define exactly who you are in a way that resonates in the broadest possible manner. For Bullet For My Valentine – now two decades deep into their story, one of rock and metal’s foremost names, a genuine success – that time is now.

Thankfully, Pantera has stopped attempting to outdo each successive album in terms of start-to-finish intensity, but that doesn't mean they don't try in spots. The Great Southern Trendkill is burdened with passages in which Phil Anselmo's vocals cross the line into histrionics, making the band's trademark intensity sound dull, forced, and theatrical rather than sincere…

Surviving a shaky decade that produced a couple decent albums and few identity crises, Korn bring it back to basics on their 12th full-length, The Serenity of Suffering. It's both a reminder that Korn are the masters of this particular universe and also fiercely dedicated to its fans. Inasmuch as the Korn faithful are capable of fuzzy feelings, Serenity delivers goose bumps for those who have stuck with the band since the '90s. Diehards will notice that Jonathan Davis and the gang have brought things back to the Issues/Untouchables era – especially on "Take Me" and "Everything Falls Apart" – when Korn perfected the combination of nu-metal brutality, desperate vulnerability, and spook show creepiness (in fact, the Issues doll – now wrapped in stitched-up skin with exposed ribs – makes a prominent appearance on Serenity's album art). Without pandering to career-peak nostalgia, Korn deftly execute all the hallmarks that have come to define their sound.

Left to their own devices on Here and Now, Nickelback have done the unthinkable: they’ve embraced who they are. Chad Kroeger’s brow is no longer furrowed, treating rock & roll as an ordeal; he’s stepped back a bit, allowing himself to have a good time. This doesn’t quite mean he’s left his misogyny behind – it lingers, infecting otherwise innocuous songs – but it does mean that Nickelback no longer rely solely on heavy-footed power chords set to lumbering rhythms. True, this signature sound still underpins much of Here and Now, but the group is now loose enough to throw in a disco-rock thumper (“Kiss It Goodbye,” another in a long line of anti-Hollywood, anti-plasticity anthems destined to be staples in Hollywood strip clubs) and even dabbles in a bit of power pop on “When We Stand Together,” giving it an actual swing, something unheard on previous Nickelback albums, and this isn’t an isolated incident. “Gotta Get Me Some” abandons the brutal four-on-the-floor Nickelback signature in favor of an actual groove and the group even sounds nimble on its power ballads.

Harakiri is the third studio album by Armenian-American singer Serj Tankian. The album was released on July 10, 2012, as a follow-up to his 2010 album Imperfect Harmonies, orchestral rock with jazz/electro elements. The album also constitutes the first of four planned albums, the other three being Orca, Jazz-Iz-Christ, and the still-unreleased Fuktronic.